In my humble opinion, these filmmakers and producers have truly mastered the art of bringing stories to life on the silver screen. Their experiences, both triumphant and challenging, serve as valuable lessons for aspiring artists in the industry.
This year’s best picture contenders’ producers faced various challenges, ranging from constructing 14 replicas of ancient Roman buildings for a movie sequel and housing 2,000 extras, to ensuring the cast of formerly incarcerated actors at Sing Sing felt comfortable filming in a real prison. Their tasks ranged from managing locations as diverse as the Arabian Desert to dealing with anxious studio executives.
Lucy Fisher, Mary Parent, Amy Pascal, Samantha Quan, Tessa Ross, and Monique Walton recently gathered in Los Angeles for The Hollywood Reporter’s annual Producer Roundtable discussion. They spoke about persisting in the unpredictable world of Hollywood despite facing challenges such as getting stuck in mud literally. As quoted by Mary Parent, “There is a lot of fear driving people today. Many are leaving their posts, but as a producer, you can never abandon your post.
What did your first job as a Hollywood producer entail?
MARY PARENT Among the rare films I’ve had the opportunity to film in Los Angeles, this one stands out. Such occasions have been limited. The location scout approached me and expressed, “It seems we need to pay again.” I inquired, “What do you mean?” They explained, “There are individuals who aren’t exactly welcoming of our presence here, and they want us to compensate them further.” At the time, I was unaware of the implications, so I navigated the situation and managed to continue filming. However, it wasn’t until halfway through that I realized they were seeking some sort of additional payment or agreement.
AMY PASCAL For quite some time, I worked under the guidance of a man named Tony Garnett, who was a producer. After that, I moved on to become a studio executive at Sony and held that position for an extended period. Later, I was dismissed from my role and transitioned into becoming a producer myself. When I first started producing films, I was unsure about when it was appropriate to speak with the director because as a studio executive, I had the freedom to interact on set whenever I wished. However, as a producer, I learned that it’s not acceptable to offer feedback during the master shot without prior permission.
Tessa Ross Being an executive is quite distinct. It involves immersing oneself in development stages, considering budget and financing implications, often overseeing delivery. However, as a producer, I lacked understanding of the on-set experience. The only exception being the warm receptions [I received as an executive].
PASCAL Being the queen was great.
Monique Walton Among the tasks I handled was a short film production. A crucial insight I gained from this experience is that if you anticipate needing set pieces, it’s wise to store them post-shooting. Some time later, we required the couch used in our filming back from the homeowner where we shot. To our surprise, she agreed to let us return and retrieve it. However, when we arrived, she mentioned that the couch was now located in her backyard field. We had to fetch the couch with a pickup truck and clean off whatever growth had accumulated on it since then. This incident served as a valuable lesson for me.
SAMANTHA QUAN Since I work in independent films, my role is versatile as I handle everything necessary to ensure the movie production goes smoothly, regardless of any unexpected events. We filmed Red Rocket right at the start of the pandemic, an incredibly unusual period.
PARENT I love that movie.
ANSWER With a team of ten, we all took on multiple roles. Apart from our usual duties, I handled hair and makeup too. One peculiar aspect was that occasionally, I’d need to apply Simon Rex’s prosthetic penis – yes, it was a prop. So, I’d rehearse lines with him and…
PASCAL Putting his penis on.
QUAN We came quite near. At one instance, I had to ensure it wouldn’t fall off during his run. So, I asked him to perform jumping jacks, and there he was, wearing the prosthetic penis, which surprisingly gave the impression of nudity. I showed this to the production designer, thinking it looked fine, but she promptly instructed me to remove that from my phone immediately.
What about for you, Lucy?
LUCY FISHER Are you asking me to keep tabs on that particular story? I should clarify that I held an executive position for 25 years. As an executive, one can instruct others to rectify issues, but when serving as a producer, the responsibility falls upon oneself to ensure the problem is addressed. Notably, we did experience an issue with Stuart Little’s cat, where its rear end came loose during production.
ROSS You’ve matched her story.
QUAN How does that happen?!
FISHER It prolapses. But it went back in and we continued to shoot.
Juggling multiple tasks at once is both the toughest and most thrilling aspect of being a producer, as you’re constantly grappling with identifying crucial issues amidst the chaos. It’s like trying to strike a balance between focusing on what matters most – the concern that could potentially derail the project if overlooked – while avoiding fixating on trivial matters that won’t impact the final outcome significantly. I sought Kathy Kennedy’s counsel frequently, as she seemed to intuitively grasp the solutions to every predicament that arose.
PASCAL About the cat’s asshole?
FISHER No, not about that one.
Tessa, why did you decide to make Conclave independently?
ASSIST It sounds like you’re using the term “decided,” and I appreciate your perspective, as if I have full autonomy in my decisions. (Laughs.) The production of the movie wasn’t funded just once; it was funded twice. The second round of financing is what led us to an independent structure, which is why the process took longer. Naturally, this meant we had fewer resources and more pressure. However, it provided us with the flexibility that was crucial.
Hey Amy, your comment caught my attention when you mentioned that the Challengers script stood out because it’s uncommon for commercial films to focus on adult relationships and sexual themes. Given the potential apprehension in the studio system towards such subjects, how did you manage to secure the green light for this unique story?
Considering Onboarding Luca Guadagnino as the film’s director. He excels at crafting movies that delve into human bodies, freedom, and self-expression, and he has a knack for grasping complex human relationships. The aspect I admire about his work is the film’s impartial portrayal of love in its diverse forms within contemporary society.
Did you get any studio pushback about the amount of sexual content in the film?
PASCAL We didn’t know how much sex would be included in the film until production began. The main concern we faced was regarding the movie’s ending. People were asking, “Who won?” Our response was, “Nobody did. The point of the film wasn’t about tennis; it was something else entirely.” To be truthful, I too questioned who won when I first read the script. However, I grew increasingly assured in my answer: “It’s left open to interpretation!
For Anora, Samantha, you worked with sex workers as consultants.
PASCAL Oh yeah, yours had a bunch of sex.
QUAN Yeah, you want to talk about sex? (Laughs.)
PASCAL She is just all over that.
In your work on the project ‘Sing Sing’, Monique, did you discuss mental health issues with the cast members who were once imprisoned and performed within a shuttered correctional facility?
My initial concern was to avoid causing further distress to our cast members. These individuals are exposing themselves emotionally, and they’re placing a great deal of trust in us. Some of them were previously incarcerated, and some even expressed apprehension about wearing green – a color associated with their past experiences. I reached out to several therapists and eventually found one who had worked at Sing Sing and was familiar with our cast. He joined us as a resource, and we soon understood that our cast wasn’t necessarily utilizing therapy in the conventional way, but they did experience moments of emotional release. There was a significant moment when one of our cast members, Mosi Eagle, became lost within the prison during our location scouting before filming began. He expected a strong emotional response, but instead found himself saying, “I can open this door and go wherever I want.” After that, he spent an hour wandering around the prison on his own.
For more than two decades now, the movie “Gladiator” has graced our screens and taken home the title of Best Picture. With that in mind, Lucy, what apprehensions did you have when returning to revisit the narrative of such a widely recognized tale?
FISHER Everyone seemed quite frightened, which is likely why it took 25 years to produce a sequel. At the time, I wasn’t involved in the original film production; instead, I held the position of Vice Chairman at Sony, and we declined the movie opportunity. (Laughs.) There was no rush to create a sequel because there were concerns it might appear as a mere money-making attempt. With the main characters being deceased, it wasn’t an optimal situation for making a sequel. Moreover, two of the primary actors had already passed away during production, including Oliver Reed [the gruff gladiator trainer], and Mary was present during that filming.
As a young executive at Universal, I passionately championed that particular project, one of the first causes I vigorously pursued. Doug Wick, the producer of Gladiator and Fisher’s husband, reached out to me on a Sunday to inform me about Reed’s passing. That conversation is etched in my memory forever.
Initially, the film production company suggested that Ridley Scott had to re-film the entire movie because it was already more than half done. However, they devised a clever solution involving some CGI and a modified ending. Notably, Reed’s scenes were completed using a stand-in actor and digital face replacement.
PARENT Filed an insurance claim worth $90 million, demonstrating an exceptional approach to problem-solving – serving as an excellent illustration of productivity.
FISHER You can do everything right as a producer, but if you don’t have a good director …
PASCAL You got nothing.
FISHERRidley Scott essentially planned out the entire film in advance. He created storyboards for the movie even before we had a finalized script. In simpler terms, he had a clear vision for the movie from the start.
On his 86th birthday, we celebrated with a party right in the middle of production. Looking across the room, it was clear that the same heads of departments had been loyal to him throughout. This is the kind of devotion he inspires.
halted production on the movie proved to be a significant challenge due to the four-month shutdown during strikes. Considering the grandeur of the sets – a full-sized Colosseum, 14 blocks of ancient Rome, over 2000 extras, costumes, props, and accommodation for 450 crew members, not to mention the 2000 people on set – it was a considerable expense to halt everything. The following day, the silence was as daunting as the actual filming in our situation, given the effort and resources invested into making movies like ours.
Hey Mary, you’ve mentioned that it’s more straightforward when collaborating with directors like Denis Villeneuve, as he possesses a clear visual concept. Now, let me ask: What strategies do you employ when working with a director who hasn’t fully defined their vision yet?
PASCAL Quit. (Laughs.)
Is there a way to help them find it?
PARENT I’m optimistic they possess other abilities too. We’re fortunate to collaborate with some exceptional movie-makers here, yet it’s equally thrilling to aid emerging talent. May their distinct skills match the requirements of the film. You can assist them with your accumulated wisdom, point out potential hazards and help shape their vision. However, I’m a firm believer in backing a powerful vision and safeguarding it constantly.
In some cases, film directors manage to come up with their concepts on-the-go, which can be successful, but it tends to be more challenging compared to having a preconceived plan.>
PRODUCER The ideal productions are those where team members have the freedom to execute plans while also exploring new ideas. A significant part of this role involves handling uncertainty gracefully. If one isn’t adept at that, it can be a challenging job. When faced with obstacles, producing is about finding ways to push through them. Showing signs of distress will only escalate the tension among the team. It’s crucial to maintain composure. I often say, “A film is a caterpillar before it becomes a butterfly.” I borrow this from Dune: “Fear is the mind killer.” Currently, there’s a lot of fear in the industry; many are leaving due to their fears. As a producer, you can never abandon ship.
FISHER A significant aspect of our work involves adapting. For instance, during the filming of The Great Gatsby in 2013, when it came to capturing the scene where Gatsby meets Daisy, we had to travel two hours to our location. On three separate occasions, it rained persistently all day long. We got stuck trucks in the mud; it was that heavy a downpour. Yet, we decided to shoot in the rain. This wasn’t how it was described in the book, but the result was a powerful scene. We chose to shoot in the rain. Leo DiCaprio arrived drenched. That’s what we had and that’s what we used. The best producers and directors strive to draw out the best from their team members. Some newer directors have a knack for this, but some try to control too much. For me, the greatest joy is when I can say, “I could never have thought of that. Thank you.
QUAN Being open to that serendipity can make things even better than you ever imagined.
PARENT I’ve had trucks stuck in mud. The Revenant.
FISHER Some of those trucks I think are still there.
Lucy and Tessa, for your films, each of you had to rebuild Rome. How did you go about tackling massive set pieces like the Sistine Chapel or the Colosseum?
In my perspective, delving into screenplays has always been a journey centered around narrative and character development. It wasn’t until Edward [Berger, director of Conclave] began the project that we started discussing casting, logistical challenges, and the real-world aspects of depicting Rome. We even contemplated shooting elsewhere and calculated budgets for other cities where we could potentially replicate or utilize distinct architecture. However, it ultimately boiled down to Edward’s vision for the atmosphere. Alongside Suzie Davies, our production designer, and an exceptional location manager, they crafted a Vatican scene using primarily Roman locations, some from Naples, and a set constructed at Cinecittà Studio. The process involves embracing the creativity of others.
On occasion, FISHER Gladiator II was one of the rare instances when the studio expressed a desire to produce the film. (Chuckles.) However, we faced numerous challenges in preserving some of the larger action sequences that are key attractions for viewers. Whenever the studio exerted pressure on us, we would retort, “Very well, let’s eliminate the naval battle.” They would respond, “Absolutely not.” I countered, “What about the rhinoceros?” Initially, we couldn’t film a real rhinoceros because creating CGI for it was too costly at the time. Doug contacted a rhino wrangler and inquired about procuring one. The wrangler cautioned that they aren’t easy to train. Once they start running, they can’t be stopped.
It’s taken us quite a while to construct our sets, which has left me feeling somewhat self-conscious when comparing our costs to the stunning films you’ve produced at a fraction of what we spent. Our production designer was overseas, diligently working on his designs, with no one overseeing the process. As a result, when we first saw it, we were a bit taken aback, thinking, “Oh dear, it’s larger than expected.” (Laughs.) I had the pleasure of working for Francis Ford Coppola for a few years at his small studio Zoetrope in LA. Dean Tavoularis shared an anecdote about how he installed hardwood floors for The Godfather, and later decided to lay carpet over them. Someone criticized him for wasting money on hardwood and then covering it with carpet. He replied, “The actors perform better when they know there’s hardwood beneath that carpet.” Then he paused and said, “And they did.
PASCAL I love that and I believe it.
Mary, Denis is a hands-on filmmaker who prefers real lights and actual sets. As a producer, what are the implications for you in this regard?
PARENT I’ve been involved in making films, from modest productions to large-scale projects. Regardless of the budget, there is always a lack of resources. It’s crucial to decide how to allocate those limited funds effectively. Films can quickly spiral out of control if not managed carefully. Directors are often relentless, constantly demanding more takes or pushing for more intensity. This requires careful navigation and sometimes saying, “It’s time to move on.” The process is harder than it seems. If it were simple, every film would excel. When trying to get a movie produced, you have to be optimistic, almost visionary about its potential. But once the production starts, you start worrying about where things might go wrong. On one hand, you’re the most ardent supporter and defender of the project. Simultaneously, you must be its harshest critic.
Tony Garnett used to express that one should be a “nurturing critic.” This means providing emotional support while also being firm and demanding. In other words, you should show your project affection, express full backing, and share the same goals, all while maintaining a challenging and tough stance.
PASCAL You know what he taught me? The only thing that really matters is the writer.
FISHER A good script never hurt a movie.
QUAN Can I also just add, whether it’s $1 million or $5 million or $10 million or $300 million, there are always issues. Lucy, we might not have had as much money as Gladiator, but I never had to get a rhinoceros.
WALTON Or build a coliseum.
QUAN Any movie is impossible.
Interview edited and condensed.
I just came across an interesting story in the December 4th edition of The Hollywood Reporter magazine. If you’d like to stay updated and read more such stories, consider subscribing here.
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2024-12-05 17:56